Paintings

Cologne Love
2013
130x100cm
Oil on canvas
Devils Mountain
2013
102x152cm
Oil on canvas
Ghost
2012
55x70cm
Oil on canvas
House on a Red Hill
2013
40x50cm
Oil on canvas
Running Face
2013
78x60cm
Oil on canvas
Schönefeld
2007
103x184cm
Oil on canvas
Slam Your Doors
2013
130x100cm
Oil on canvas
Matrix
2013
120x180cm
Oil on canvas
Whitewashed
2011
150x100cm
Oil on canvas
Villa in the Woods
2008
150x100cm
Oil on canvas
Villa in the Exhibition
2010
178x120cm
Oil on canvas
Zeitgeist
2013
154x492cm
Oil on canvas
Tower
2007
94x155cm
Oil on canvas
Triumph
2009
135x100cm
Oil on canvas
The Sitting Machine
2011
140x80cm
Oil on canvas
The Institution
2010
130x100cm
Oil on canvas
The Bridge
2009
105x184cm
Oil on canvas
Sphere
2010
70x55cm
Oil on canvas
Spacey
2008
127x165cm
Oil on canvas
Silo
2010
132x100cm
Oil on canvas
Shadows in the House
2008
70x63cm
Oil on canvas
School
2012
55x70cm
Oil on canvas
Rotaprint
2010
105x134cm
Oil on canvas
Red Space
2010
130x100cm
Oil on canvas
Real House
2009
102x140cm
Oil on canvas
Pyramid
2012
55x70cm
Oil on canvas
Playhouse
2011
85x55cm
Oil on canvas
Mountain of Solitude
2010
40x65cm
Oil on canvas
Modersian Space
2011
184x105cm
Oil on canvas
Modern Living
2008
100x130cm
Oil on canvas
Homemade
2011
190x155cm
Oil on canvas
Fallen Star
2013
100x130cm
Oil on canvas
Garage
2010
103×155 cm
Oil on canvas
Extension
2012
55x70cm
Oil on canvas
Analogue
2013
152x102cm
Oil on canvas
Escape Button
2009
130x100cm
Oil on canvas
Enjoy the Shadows, Enjoy the Sun
2011
105x132cm
Oil on canvas
Domino
2010
135x100cm
Oil on canvas
Driveway
2007
134×184 cm
Oil on canvas
Hysteria Lane
2013
134x105cm
Oil on canvas
Time-Texture
2013
104x140cm
Oil on canvas
Discourse on the Inside
2010
135x100cm
Oil on canvas
Delirious Disaster
2009
178x120cm
Oil on canvas
Chuey House
2008
105x184cm
Oil on canvas
Box
2012
55x70cm
Oil on canvas
And Then The Countryside
2011
155 x 107
Oil on canvas

Installations

BlackCloudMachine

BLACK CLOUD MACHINE
2010
280x965cm
Acrylic on wall, oil on canvas.

The installation was conceived for the group-show Painterly Delight (Silkeborg Bad, 2010 and Ystad Art Museum, 2011) as a response to the growing social unrest in the aftermath of the financial crisis beginning with the collapse of Lehman Brothers in New York, september 2008.

TheRamp

THE RAMP
2007
244x244x520cm
Oil on canvas., video-loop, MDF.

I buildt the ramp in my studio-space at the academy in Copenhagen. The idea was to construct an immersive space for experiencing painting together with the video-screen.

OUT OF WEDDING
2009
230x910cm

Oil on canvas., inkjet-jet, pencil drawing, video-loop.
In this installation I wanted to explore the relations between the inside and outside of the wall, between the painted space and painting as pure object. Through the black square that from a distance looked like a black painting the viewer could climb to the back and watch a small video-loop.


OUR NEW LATIN QUARTERS
2011
244x122x732cm
Oil on canvas., sound-loop, MDF.

 

The idea behind this project was to explicate the economic forces surrounding the exhibition-space Kunsthallen Brandts that presented the prize-show Enter II in which I participated. My black-box contained a recording from the local shopping arcade which presented itself as a latin quarter in order to attract the segment of the creative class. Around the box there was paintings pointing towards different elements from this relation between the cultural institution and the ongoing process of gentrification in the city of Odense.

Text

 PROPOSITIONS ON PAINTING

Asmund Havsteen-Mikkelsen

Berlin 2013

 

1.

Painting is.

 

1.1.

Painting is an object.

 

1.2.

Painting is a screen for mental projections.

 

 

 

2.

Painting is a proposition.

 

2.1.

As an object the painting proposes itself as an object in the world.

 

2.1.1.

This proposition exists in the continuum of non-figurative art, ABC art, Minimal art, Object-art etc.

 

2.1.2.

There is nothing inside this object.

 

2.1.3.

The object exists within a context of relations to other objects, e.g. other works of art, but also doors, windows, walls, floors, ceilings, corners, pillars, stairs, etc.

 

2.1.4.

The object is an event in an institutional context.

 

2.2.

As a screen for mental projections painting proposes itself as a statement about a represented world.

 

2.2.1.

The proposition is about a specific way of organising space in a limited field of possibility.

 

2.2.2.

Mental projections can be organised through linear-perspective, disjunctive space or layered space.

 

2.2.3.

A mental projection is the thoughtful making of space.

 

2.2.4.

In the construction of the image the artist needs the power of imagination, recollection and association.

 

 

 

3.

Painting gives itself as a phenomenon to the world.

 

3.1.

As an object phenomenon, the question is of the choice of the supporting material, what the surface is and which materials are used.

 

3.1.1.

The object becomes visible within a context, and this context becomes an inseparable part of the object.

 

3.1.2.

The object can be critical.

 

3.1.3.

The object can be advanced.

 

3.1.4.

The object can be strange.

 

3.2.

As a screen for mental projection, the question is of the motif, mode of expression and mode of representation within the phenomenon.

 

3.2.1.

What the mind envisions through imagination and invention it desires to objectify through the mental projection. The attempt to objectify is also a distortion.

 

3.2.2.

The act of imagination can be critical.

 

3.2.3.

The act of invention can be critical.

 

3.2.4.

The act of distortion can be critical.

 

 

4.

Painting can be resistant to itself and to its logic of presentation.

 

4.1.

If the painting as an object defies the logic of immediate recognition it can resist the powers of convention.

 

4.1.1.

If the painting defies the imposed institutional limits it can be resistant.

 

4.1.2.

Such resistance can be an act of questioning and de-authorisation of a given power-system.

 

4.2.

Through the construction of a parallel world the mental screen of projections becomes resistant.

 

4.2.1.

A parallel world can act as a mirror or critique of the common world – or even as an image of utopia.

 

4.2.2.

A de-familiarised world in a painting can be uncanny.

 

 

 

5.

Painting is produced.

 

5.1.

As an object the painting can be produced in an industrial fashion.

 

5.1.1.

The artist does not have to touch the object.

 

5.1.2.

The artist does not have to feel the object.

 

5.1.3.

The production of a painting can be outsourced.

 

5.1.4.

The painting can be multiplied.

 

5.1.5.

The painting can be printed.

 

5.2.

The production of mental projections is not necessarily the equivalent of the inner world of the artist.

 

5.2.1.

Mental projections can be produced through the placement of the artist’s eye in new perspectives.

 

5.2.2.

Mental projections can appear through research, intervention and experimentation.

 

5.2.3.

Mental projections can be intelligent.

 

5.2.4.

Mental projections can be striking.

 

5.2.5.

Mental projections can haunt the mind as a ghost haunts a house.

 

 

 

6.

Painting can be diagrammatical, as in a thinking of relations between objects and mental projections.

 

6.1.

As a formal proposition the diagram states a relationship between objects, surfaces, volumes or imagery.

 

6.1.1.

The diagram can also involve the physical installation and the space surrounding the objects.

 

6.1.2.

Objects have surfaces with different kinds of intensity and temperatures.

 

6.1.3.

The non-figurative object can relate to a sign in a representational painting.

 

6.1.4.

The sign can be anything insofar as it has significance.

 

6.1.5.

A sign could be a form, shape, colour or symbol.

 

6.1.6.

Significance is produced through relations of resemblance, repetition and difference.

 

6.2.

Diagrams can appear between representative paintings through the display of works in orders of symmetry, grid, clustering, distance, dispersion and condensation.

 

6.2.1.

Mental projections can receive their meaning in a diagram through their narrative, composition and reference.

 

6.2.2.

Painting can appear with other types of media in order to explore the difference in material and mode of production.

 

6.2.3.

The explored difference between the objects and the mental projections becomes a space of reflective reasoning.

 

6.2.4.

A space of reflective reasoning is produced through the title of the exhibition or project, the number and quality of works presented, what they represent through their imagery or status as objects, and finally through their individual titles.

 

6.2.5.

A space of reflective reasoning produces distance, but also new relations to the world.

 

6.2.6.

The diagram is an attempt to grasp the constitutive forces at a given moment of a given topic and thereby becomes its own force-field.

 

 

 

7.

Painting can be an intervention.

 

7.1.

As an object the painting can place itself within a context that is governed by internal and external forces existing in a social space.

 

7.1.1.

The painting can use the functionality of something else to present itself – e.g. billboards, walls or scaffolding.

 

7.2.

As a mental projection the representation can animate the public space by becoming performative.

 

7.2.1.

The mental projection is performative if it proposes itself as the realisation of the actual space.

 

 

 

8.

Painting can be site-specific.

 

8.1.

Painting placed in or on a site becomes specific to that site as an object placed in physical space.

 

8.1.1.

Paint applied directly on the wall, floor, ceiling, door, window etc. becomes specific to the site.

 

8.2.

As a mental projection the motif can depict the actual scenery in which the painting is placed.

 

8.2.1.

This depiction of an actual site can be imaginary, uncanny or false.

 

 

 

9.

Painting is the distortion of reality.

 

9.1.

As an object it distorts by having no specific function other than being this object.

 

9.1.1.

When placed as an object the painting distorts the flow of reality.

 

9.1.2.

This distortion interrupts the convention of perceiving reality.

 

9.1.3.

A distortion is a crack in our notion of the real, because it opens towards a non-real dimension of our perception of the world where we might encounter irrational forces.

 

9.2.

As a mental projection of the real, the motif will always distort the representation of the real.

 

9.2.1.

A painting can be a production of otherness to the viewer, but also to the artist.

 

9.2.2.

A painting can be a straying through an infinite nothingness.

 

9.2.3.

A painting can produce effects that change our presence in the world and change ourselves.

 

 

10.

Painting is executed with a specific speed inherent to the work.

 

10.1.

As an object the surfaces can preserve various strokes, gestures and transparencies.

 

10.1.1.

The execution points towards an executing body.

 

10.1.2.

The executing body is a painting muscle.

 

10.1.3.

A painting muscle is the power to produce painting.

 

10.2.

The surface of a painting becomes the user-surface through which the viewer engages with the painting.

 

10.2.1.

Various types of mental projections can have different speeds in relation to each other in a sequence: slow, fast, stop, slow, stop, fast, faster, fastest.

 

10.2.2.

The formal dynamic can be enhanced through the difference between the hard lines and the soft lines.

 

10.2.3.

Reduction, intensification and necessity produce cartharsis.

 

 

 

11.

Painting is the constant collision between mind and matter.

 

11.1.

In painting as object, the object itself becomes matter embedded with mind.

 

11.1.1.

Painting can be formless or informel.

 

11.1.2.

Sometimes a painting must be physical disgusting.

 

11.2.

In painting as a mental projection, the painting becomes mind embedded with matter.

 

11.2.1.

This matter embedded with mind constitutes the opacity of the painting.

 

11.2.2.

Painting can be tragic, because a painter’s solitude can be monstrous.

 

 

 

12.

Form matters.

 

12.1.

The form of the painting as object is the grammar of the relationships between size, shape, surface, distance, colour, energy, temperature and volume.

 

12.1.1.

A form is an aesthetic strategy to produce the object-event.

 

12.1.2.

An interesting form is delirious.

 

12.2.

The form of the painting as a mental projection is the architecture of the image, keeping the planes and lines in order.

 

12.2.1.

A form is an aesthetic strategy to produce the image-event.

 

12.2.2.

A form makes the viewer oscillate between reality and illusion.

 

 

 

13.

Each painting reveals a method of painting.

 

13.1.

An artistic method is a personalised procedure to produce a specific paint-event in an object.

 

13.1.1.

Within the same artist several methods can co-exist.

 

13.2.

A painter must de-authorise what-ever applied method in order to progress.

 

13.2.1.

Innovations and experimentations are born out of conflicts within the artist and dissatisfaction with existing aesthetic regimes.

 

 

 

14.

Painting is absolute visibility.

 

14.1.

As an object the painting can be visible within the social.

 

14.1.1.

As an object the painting can be integrated into already existing contexts.

 

14.1.2.

Paint can be applied onto existing objects and spaces.

 

14.1.3.

Paint can oscillate between opaque, transparent or dust.

 

14.2.

As a mental projection the painting can be what-ever visibility.

 

14.2.1.

To paint light is to illuminate the world.

 

14.2.2.

A painting can become ineffable space.

 

14.2.3.

Some artistic oeuvres are like watching a thunderstorm approaching on the horizon.

 

 

 

15.

Painting saturates the world.

 

15.1.

The object is a framed or unlimited surface that gives itself as an intensification of colour or the explosion of matter.

 

15.1.2.

This surface can produce the idea of infinity.

 

15.2.

The mental projection within the frame saturates the mind of the beholder.

 

15.2.1.

The mental projection is a Mentalscape.

 

 

 

16.

Painting is enigmatic.

 

 

Commissions

Approximations


12 paintings depicting the projects of the Berlin-based architects Grüntuch and Ernst. Made specifically for the publication Dialogues (2013, Distanz Verlag).

Dark Interior
2012
105x78cm
Oil on canvas
Continuum
2012
130x100cm
Oil on canvas
Complex
2012
186x140cm
Oil on canvas
Coming Up for Air
2012
85x60cm
Oil on canvas

Interferens


2012
600x1450cm
Acrylic paint on plaster ceiling.
Jazzhouse Montmartre, Copenhagen.
  I wanted to make a work that expressed the relation between the past of the legendary jazzhouse and the present where new stars are to appear. Here, the actual motif is the broken lines from the vibrations of stars outside the space. A very simple geometric work that also echoed the original decoration in the ceiling from sixties.

Space of complementarity


2012
The New Science Building (CASA Architects), Nyborg Gymnasium, DK.   Inspired by the concept of complementarity developed by the Danish quantum-physicist Niels Bohr the works in the commission attempts to create a frame of meaning between the natural sciences and society.

Windmachine
2012
100x130cm
Oil on canvas
Solar Energy
2012
134x184cm
Oil on canvas
Seeing is Difference
2012
55x85cm
Oil on canvas
Inverted Sun
2012
150x100cm
Oil on canvas
Impossible Stairs
2012
70x85cm
Oil on canvas
Experimental Setup
2012
70x90cm
Oil on canvas
Crater
2012
217x510cm
Oil on concrete wall
The Future as a Sphere
2011
153x182cm
Oil on canvas
Pattern Proof
2012
265x239cm
Acrylic on MDF
White Sphere
2012
394x656cm
Sound-reducing steel-plates
Black Sphere
2012
394x656cm
Sound-reducing steel-plates

Projects

TheNewPioeneers

THE NEW PIONEERS
2010
15x22cm
Inkjet print.

 

For the exhibition No Food No Drink No Sticky Lollies I invited the curator to dress up as cowboys in front of the local Turkish community center in Wedding, Berlin, as a self-ironic comment on the use of artists and cultural activities in the process of gentrification.

WhenWorldsCollide7

WHEN WORLDS COLLIDE
2010
230x300x420cm
Cardbox and tape.

 

From found boxes in containers I buildt the sculpture in my studio during a period of three months. When finished I took the sculpture around the block placing it in different contexts.

Denmark

DENMARK
2004
85x60cm
Printed as poster, frontcover and stamp.

As part of my joint project Melting Barricades (2004-2005) with Inuk Silis Høegh I conveiced the idea for the map of Denmark on the way to Kangerlussuaq looking at an inflight magazine from Air Greenland. From the plane you could see all the beautiful glaciers with Danish royal names. What if Greenland did the same in Denmark, but with ice and new names? It was a sarcastic comment to the good and bad sides of the colonial era, but also to the ”big brother” Denmark, who were warring in Afghanistan. The map of Denmark has been exhibited various places and appeared in many different contexts – having a direct appeal to many people. Most recently (2012) it has been used as stamp by Post Greenland.

CV

Asmund Havsteen-Mikkelsen

b. 1977, Aeroe, (DK). Lives and works in Berlin.

 

Education 

 

2003-09 MFA, Royal Academy of Fine Arts, Copenhagen.

2007-08 Hochschule für Bildende Kunst, Hamburg.

2004-05 CCA Research Program, Kitakyushu, Japan.

1996-03 MA in literature and philosophy, University of Copenhagen.

 

 

Upcoming

 

2014 The Infinity Complex, Gallery Kant, Copenhagen.

Generic Singularity, A Mock Book, Lettre Publishing (382 pages).

 

 

Solo exhibitions 

 

2013 Approximations, Charlottenburg Amtsgericht, Berlin.

2013 Look at this World, Fold Gallery, London

2012 Blue Devils, Galerie MøllerWitt, Aarhus, Denmark.

2011 The Future Begins at Home, Rønnebæksholm ArtCenter, Denmark.

2010 Estrangement City, Politikens Galleri, Copenhagen.

Meditations on the Uncanny, Helene Nyborg Contemporary, Copenhagen.

2008 Life in the Box, Helene Nyborg Contemporary, Copenhagen.

2007 Supernumeral (with Emil W. Hertz), Marstal Museum, Aeroe.

2006 Mentalscapes, Helene Nyborg Contemporary, Copenhagen.

Frontal/Sideways, The Scandinavian House, Prague.

2004   Melting Barricades (with Inuk Silis Høegh), North Atlantic House, Copenhagen, and Katuaq, Nuuk, Greenland.

Collapsing Structures (with Rune Søchting and Jonas Olesen), The Projectroom,  Royal Academy of Fine Arts, Copenhagen.

 

 

Selected group exhibitions

 

2014 Stetige Wiederkehr des Utopischen, Trittau, Germany

2013 Winter Exhibition, Galleri Kant, Copenhagen.

2012 Needle In A Cloud, Fold Gallery, London.

Snowtime, Galleri KANT, Esbjerg, Denmark.

2011 Enter II, Kunsthallen Brandts, Odense, Denmark.

Summer Salon, Helene Nyborg Contemporary, Copenhagen.

Primitive Accumulation, Fold Gallery, London.

Uferhallen Kunstaktien, Uferhallen, Berlin.

3-1Kunstauktion, Kunsten, Aalborg.

Painterly Delight II, Ystad Konstmuseum, Sweden.

2010 Geist III, Auguststr. 17, Berlin.

No Food No Drink No Sticky Lollies, Stadtbad Wedding, Berlin.

Painterly Delight, Art Centre Silkeborg Bad, Denmark.

Greetings to Ib Geertsen, Danish Graphic Center, Copenhagen.

Radical Adults, The Forgotten Bar Project, Berlin.

CRW – Contemporary Reflections on Warfare, BKS Garage, Copenhagen.

Copenhagen City Art Collection 2006-2009, Copenhagen.

The Hello Show, Helene Nyborg Contemporary, Copenhagen.

Art in the Blood, Utzon Center, Aalborg.

A Formal Figure, Galerie im Regierungsviertel, Berlin.

2009 Out of Wedding, UferHallen, Berlin.

Formation, Halle 41, Berlin.

Exit, Gl. Strand, Copenhagen.

2008 Jahresausstellung, HfBK, Hamburg.

InnenRaum, Galerie MøllerWitt, Aarhus, Denmark.

2007 Autolabor, Brandenburgischer Kunstverein Potsdam e.V., Germany.

PT07, Vestjyllands Kunstmuseum, Tistrup, Denmark.

2006 Proverbs, Portalen, Greve, Denmark.

Re-thinking Nordic Colonialism, The Living Art Museum, Nifka, Reykjavik, Iceland.

Contemporary Art, Spring Exhibition, Charlottenborg, Copenhagen.

2005 Total Production, Islands Brygge 83, Copenhagen.

2004 Typhoon, Maeda Studio, Kitakyushu, Japan.

Minority Report, Aarhus, Denmark.

2003   Young Contemporary Art, Frederiks Bastion, Copenhagen and

Inkonst, Malmø, Sweden.

 

 

Bibliography

 

2013   Mit Berlin, DR K, 30 min. documentary on national television, Oct. 2012. Approximations in Grüntuch Ernst Dialoges, Distanz Verlag, Berlin, Aug. 2013.

2012   Malene Birkelund: Videnskaben lagt i blød, Fyens Stiftstidende, 19. Dec. 2012.

Arne de Boer: Stand By for Hyperdrive, Text for Blue Devils exhibition, Nov. 2012.

2012  Asmund Havsteen-Mikkelsen, Kunsten.nu., Nov. 2012.

2011  Enter II, catalogue, Kunsthallen Brandts, Odense, 2011.

The Future Begins at Home, catalogue, Rønnebæksholm, Næstved, 2011.

Dina Feilberg: Subtile Undersøgelser af Rum, Kunstmagasinet Janus, Juni 2011.

Arne de Boer: New Wounds, in Primitive Accumulation, Catalogue, London, 2011.

2010  Estrangement City, Politiken, October 28th, 2010.

Asmund Havsteen-Mikkelsen, Information, July 24th,, 2010.

Meditations on the Uncanny, catalogue, Lettre Publishing, Copenhagen, 2010.

Kunsten at føle sig hjemme, radio-interview, P1 – Vita, May, 2010.

2009  Lettre International 20 Jahre Mauerfall (visual contribution), Berlin und Europa, 2009.

Beyond Architecture – Imaginative buildings and fictional cities, p. 40-41.

Edited by Lucas Freireiss, Gestalten Verlag, Berlin, 2009.

2008   Melting Barricades, Sleek Magazine, Berlin, December 2008.

The Way We Live Now (visual contribution), Lettre Internationale, 2008.

Bente Scavenius: Klinisk renset for liv (review), Børsen, August 2008.

2007 Torben Weirup: Udflugt til Blokland, Danish Art 07, Aschehoug, Copenhagen, 2007.

Jesper Rasmussen: På Kant med Byens Dybder, Kunstmagasinet Janus, September 2007.

The Celeste Art Prize 2007, catalogue, London, 2007.

2006   Proverbs, catalogue, Portalen, Greve, 2006.

Frontal/Sideways, catalogue, The Scandinavian House, Prague, 2006.

2005   May Misfeldt: Melting Barricades, Danish Art 05, Aschehoug, Copenhagen, 2006.

Intimate Absence, Patrick Huse (ed.), Delta Press, and Henie Onstad Kunstsenter, Norway,

2005 CCA Research Program 2004-2005, cataloque, Kitakyushu, Japan, 2005.

2004 Melting Barricades, catalogue, North Atlantic House, Copenhagen, 2004.

 

 

Grants

 

2011 Henry Heerup Legatet.

The Danish Art Counsil

 

 

Commissions

 

2013 Approximations, in Dialoges, Gruntuch&Ernst, Distanz Verlag, Berlin.

2012 Det Komplementære Rum, The Science Building, Nyborg Gymnasium.

Interferens, site-specific painting at Jazzhus Montmartre, Copenhagen.

 

Collections

 

2013 Horsens Gymnasium, Denmark.

2012 Statens Kunstfond, Denmark.

 

Publications

 

2013 Propositions on Painting, A Mock Book, Lettre Publishing, Copenhagen.

 

Other Activities

 

2013 Organiser of The Group Crit – a monthly session group where Berlin based artists and writers can present work and discuss new ideas.

2009 – 2010 Founder of Büro für UrbanPraktik with Boris Boll-Johansen.

2007 Co-organizer (with Andreas Harbsmeier and U-Turn) of Spaces of Desire, Desire for Spaces, a seminar with Roman Ondak and Ivaylo Ditchef, held at the Royal Academy of Fine Arts, Copenhagen.

2006-2007 Co-organizer (with Andreas Harbsmeier and Lars Bang-Larsen) of Ideas and Processes: Four Conversations About the Making of Contemporary Art, held at the Royal Academy of Fine Arts, Copenhagen. Participants: Miwon Kwon & Joe Scanlan; Claire Bishop & Phil Collins; Ina Blom & Tobias Rehberger; Diedrich Diederichsen & Judith Hopf.

 

Catalogues

Schermafbeelding 2013-04-18 om 18.26.40

The Future Begins at Home

Download a .PDF version of the catalogue ‘The Future Begins at Home’

 

Download

Schermafbeelding 2013-04-18 om 18.26.17

 

Blue Devils

Download a .PDF version of the poster ‘Blue Devils’

 

Download

Schermafbeelding 2013-04-19 om 16.52.59

Meditations on the Uncanny

Download a .PDF version of the catalogue ‘Meditations on the Uncanny’

 

Download

Schermafbeelding 2013-06-19 om 12.51.35

Propositions on painting

Download a .PDF version of the catalogue ‘Propositions on painting’

 

Download

Schermafbeelding 2013-07-03 om 12.17.04

Look at this World

Download a .PDF version of the catalogue ‘Look at this World’

 

Download

Contact

Asmund Havsteen-Mikkelsen

Studio:
Berlin Art Studios / 011
Storkower Str. 118
D-10407 Berlin

Private
Dunckerstr. 63
D-10439 Berlin

Phone:
DE + 49 (0) 1577 19 03045
DK + 30 82 02 35

www.asmundhavsteen.net
info@asmundhavsteen.net

Galerie MøllerWitt

Christiansgade 18
8000 Aarhus C
86 18 29 49

gmw.dk

 

Galleri KANT

St. Kongensgade 3, Baghuset
1264 Copenhagen K

gallerikant.dk